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Working with the Reduce Noise filter

From: Digital Painting: Street Scene

Video: Working with the Reduce Noise filter

A photograph's detail can be thought of as being made up of a range of frequencies. Low frequencies represent areas of minimal change, like the sky or flat surfaces. High frequencies represent areas of high detail, like textures and grain. The goal of simplification is to remove the high frequencies of a photo while maintaining the high-contrast edges. In this video, we will take a look at the Reduce Noise filter's capacity for removing these high frequencies.

Working with the Reduce Noise filter

A photograph's detail can be thought of as being made up of a range of frequencies. Low frequencies represent areas of minimal change, like the sky or flat surfaces. High frequencies represent areas of high detail, like textures and grain. The goal of simplification is to remove the high frequencies of a photo while maintaining the high-contrast edges. In this video, we will take a look at the Reduce Noise filter's capacity for removing these high frequencies.

Let's begin by going to the exercise files, and in chapter06 you'll find the toned_photo. So let's go ahead and open up our Reduce Noise filter, which you'll find in the Filter > Noise > Reduce Noise right here. And depending on how you have used this, or if you've never used it before, it may have some different settings on it, so I am just going to artificially kind of move these up to a setting that's more likely to be there.

The thing I want to get across to you is that you don't need these bottom three settings at all, so you can turn these all down to 0. And the other thing we are going to want to do is crank this all the way up to 10 initially, and take a look at what's happening in the image. And you can see, that it is removing the noise level quite a bit, and it's smart enough to leave a lot of the snowfall that's present in the image. I might play around with reducing this a bit, to see just subtly what's happening here.

It's nice that it still maintains the verbage in the signs. I crank it all the way up, and it's still there. It's really pretty subtle what's happening here. I may go to a level 8 and go ahead and say OK, and we want to be sure to look at this at 100% so we're seeing what's happening. And I am going to look right here in kind of the major subject area, the intersection. And by using Command+Z or Ctrl+Z to undo, I can get a quick before and after, and it's doing a very good job actually.

The other thing you can do is if use Command+F or Ctrl+F, you can reapply this, multiple times if you want. But each time you do it, you are going to add further to the simplification. And if we jump back in history here, you can see what's happening. So applying multiple times is a way to extend the use of this technique. You may get it where it's too simplified and in this case, I would say it is. But the Reduce Noise filter is definitely a way to simplify an image prior to underpainting.

In the next videos, I'll show you alternate technique for removing high-frequency information from an image.

Show transcript

This video is part of

Image for Digital Painting: Street Scene
Digital Painting: Street Scene

45 video lessons · 15077 viewers

John Derry
Author

 
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  1. 8m 50s
    1. Welcome
      1m 11s
    2. Using the exercise files
      39s
    3. Installing custom brushes
      7m 0s
  2. 22m 3s
    1. Understanding the visual vocabulary
      4m 46s
    2. Using the vocabulary of photography
      6m 41s
    3. Using the vocabulary of painting
      7m 1s
    4. Looking at reality through a mental painting filter
      3m 35s
  3. 10m 22s
    1. Understanding that resolution is in the brush strokes
      3m 6s
    2. Understanding the subject
      7m 16s
  4. 16m 1s
    1. Removing lens distortions
      2m 33s
    2. Using the Free Transform tool
      4m 42s
    3. Using the Lens Correction filter
      4m 36s
    4. Understanding the ACR lens correction profiles
      4m 10s
  5. 12m 23s
    1. Working with Vibrance
      3m 14s
    2. Using the Match Color command
      2m 59s
    3. Understanding the traditional paint color swatch set
      6m 10s
  6. 16m 6s
    1. The eye has a bettor sensor than a camera
      3m 16s
    2. Using the Shadow/Highlight filter
      3m 17s
    3. Using the HDR Toning filter
      5m 23s
    4. Understanding how RAW files provide malleability
      4m 10s
  7. 14m 42s
    1. Working with the Reduce Noise filter
      2m 50s
    2. Working with the Surface Blur filter
      3m 6s
    3. Using Smart Blur for simplification
      2m 51s
    4. Working with the Topaz Simplify plug-in
      5m 55s
  8. 31m 10s
    1. NDLP: A creative safety net
      5m 1s
    2. Using custom actions
      9m 41s
    3. Using the reference layer
      5m 29s
    4. Cloning layers
      6m 5s
    5. Working with the Hue/Saturation adjustment layer
      4m 54s
  9. 17m 28s
    1. Brush categorization
      10m 1s
    2. Working with canvas texture
      3m 41s
    3. Using Sample All Layers
      3m 46s
  10. 12m 48s
    1. Being willing to destroy detail
      7m 21s
    2. Establishing the painting style
      5m 27s
  11. 25m 1s
    1. Simplified indication
      9m 3s
    2. Understanding color
      4m 10s
    3. Introducing texture
      11m 48s
  12. 17m 36s
    1. Providing rest areas for the eye
      6m 55s
    2. Focusing on the subject through detail
      10m 41s
  13. 24m 20s
    1. Being willing to depart from the original
      6m 48s
    2. Creating detail to enhance the artwork
      8m 36s
    3. Creating physical surface texture effects
      8m 56s
  14. 10m 33s
    1. Waiting a day
      4m 14s
    2. Examining your importance hierarchy
      6m 19s
  15. 57s
    1. Goodbye
      57s

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